This work borrows a melody from Claude Goudimel during the singing of "I was conceived in sin" in the twentieth section, while the nineteenth sets "Miséricorde, O Dieu" as a dialogue between the men and women. The singing of "Ah! Si j'avais des ailes des colombes" precedes a section in which the beat of the tam-tam underscores the "Song of the Prophets," and the introduction sees the title figure sing "L'Éternel est mon berger." This work's longest section is the fifteenth, which features the "Festival Song" that precedes the "Dance Before the (*) Ark," and this work also contains the "Lamentations of Gilboa." Towards its close the music sets the words of Rene Morax, which are sung by the title figure after the coronation of Solomon. For 10
This work borrows a melody from Claude Goudimel during the singing of "I was conceived in sin" in the twentieth section, while the nineteenth sets "Miséricorde, O Dieu" as a dialogue between the men and women. The singing of "Ah! Si j'avais des ailes des colombes" precedes a section in which the beat of the tam-tam underscores the "Song of the Prophets," and the introduction sees the title figure sing "L'Éternel est mon berger." This work's longest section is the fifteenth, which features the "Festival Song" that precedes the "Dance Before the (*) Ark," and this work also contains the "Lamentations of Gilboa." Towards its close the music sets the words of Rene Morax, which are sung by the title figure after the coronation of Solomon. For 10 points, name this oratorio cum dramatic psalm, a work of Arthur Honegger.
This work borrows a melody from Claude Goudimel during the singing of "I was conceived in sin" in the twentieth section, while the nineteenth sets "Miséricorde, O Dieu" as a dialogue between the men and women.
Le {Roi David} or {King David}